1,721,121 research outputs found
Les cadres ronds de la Renaissance florentine
No full textCecchi Alessandro, Blamoutier Nadine. Les cadres ronds de la Renaissance florentine. In: Revue de l'Art, 1987, n°76. pp. 21-24
Interdisciplinary perspectives on musical performance: Historical and recent research
Full text linkThe authors of this additional e-chapter offer a critical survey of the main approaches to musical performance developed over the last few decades. After a general introduction to the concept of performance, part 1 (by Marco Lutzu) offers a historical overview of the study of musical performance in ethnomusicology in the twentieth and twenty-first centuries. Part 2 (by Alessandro Cecchi) moves from a list of recent international projects on musical performance and goes on to present the "music as performance" paradigm in (historical) musicology, and the approaches of artistic or performance-led research. Part 2 continues by presenting three interdisciplinary research strands: the study of musical performance in and through the media, the perspective of cognitive science and neuroscience, the perspectives of music therapy, music psychology and disability studies
"Teologie negative" nel "Doktor Faustus" di Thomas Mann: la costellazione Adorno-Kierkegaard-Benjamin
No full textThis article discusses the "theological" aspect of Th. W. Adorno's collaboration in Thomas Mann's "Doktor Faustus". In the beginning the author reviews the main stages of the different literary criticism from the past, moving towards a more comprehensive view of the actual research. The second part presents the criticism of Adorno regarding the last part of Chapter 46 in its original version, where the narrator describes the Finale of Adrian Leverkühn's last composition. Here the author connects the theological contribution of Adorno to his dual role as a "mediator" between Thomas Mann and the theological ideas present in the writings of W. Benjamin and as "interpreter" of Kierkegaard's philosophy. The author in this way defines a "constellation" of "negative theologies" which Thomas Mann inserted in the novel
Adorno e la musica del "Doktor Faustus"
No full textThe author offers a reconstruction of Adorno's collaboration in Thomas Mann's "Doktor Faustus" by consulting existing documentary resources and literary criticism of that period. He starts the article by introducing the sources of his research and enumerates the Adornian texts read and quoted by Mann in his work. Then he analyses Adorno's contribution in conceiving and drawing the musical description of "Doktor Faustus". With this the author presents his translation of Adorno's texts in this book right after the article. At the end he tries to confront the finale of Leverkühn's last composition "Dr. Fausti Weheklag" and the finale of Alban Berg's "Lyrische Suite" citing not only Adorno's inspiration to the works but also those of the important writings of Walter Benjamin. The purpose of this confrontation is to show that Thomas Mann's use, in the so- called "montage-tecnique", of the quoted sources and models to build Leverkühn's character cannot be merely reduced as Adorno's contribution. Here, Mann gave the elements of his "montage" an artistic elaboration producing a new and original masterpiece
Investigating Musical Performance: Theoretical Models and Intersections
No full text"Investigating Musical Performance" considers the wide range of perspectives on musical performance made tangible by the cross-disciplinary studies of the last decades and encourages a comparison and revision of theoretical and analytical paradigms. The chapters present different approaches to this multi-layered phenomenon, including the results of significant research projects. The complex nature of musical performance is revealed within each section which either suggests aspects of dialogue and contiguity or discusses divergences between theoretical models and perspectives. Part I elaborates on the history, current trends and crucial aspects of the study of musical performance; Part II is devoted to the development of theoretical models, highlighting sharply distinguished positions; Part III explores the relationship between sign and sound in score-based performances; finally, the focus of Part IV centres on gesture considered within different traditions of musicmaking. Three extra chapters by the editors complement Parts I and III and can be accessed via the online Routledge Music Research Portal. The volume shows actual and possible connections between topics, problems, analytical methods and theories, thereby reflecting the wealth of stimuli offered by research on the musical cultures of our times
Performance/Media/Documentation... Thinking Beyond Dichotomies: An Interview with Philip Auslander
Full text linkThe philosophical and general cultural contribution of Philip Auslander’s work to music, media, and the arts considered as performance is the radical, critical, and self-critical questioning of cultural dichotomies that often trap our thoughts exactly when they seem to help us think more clearly. Intervewed by Alessandro Cecchi, Auslander reflects on the exploration of the “continuum” between sound and vision, technique and technology, performance and media, music and the arts considered in their continuously and mutually changing relationships.
Philip Auslander is a Professor of Performance Studies and Popular Musicology in the School of Literature, Media, and Communication of the Georgia Institute of Technology (Atlanta, Georgia, USA). He is the author of numerous scholarly articles and seven books, including Presence and Resistance: Postmodernism and Cultural Politics in Contemporary American Performance (University of Michigan Press, 1992), From Acting to Performance: Essays in Modernism and Postmodernism (Routledge, 1997), Liveness: Performance in a Mediatized Culture (Routledge, 1999; 2nd ed. 2008),Performing Glam Rock: Gender and Theatricality in Popular Music (University of Michigan Press, 2006), Reactivations: Essays on Performance and Its Documentation (University of Michigan Press, 2018), and In Concert: Performing Musical Persona (University of Michigan Press, 2021). In addition to his scholarly work on performance and music, Prof. Auslander has written art criticism for ArtForum and other publications and regularly contributes essays to exhibition catalogs for museums in Europe and North America, including Tate Modern, The Whitney Museum of American Art, the Migros Museum, and the Walker Art Center. He is also a screen actor and writer. “Dr. Blues,” a short film Auslander wrote, produced, and acted in, premiered at the Peachtree Village International Film Festival in Atlanta in October of 2019
La musica fra testo, performance e media. Forme e concetti dell'esperienza musicale
No full textIl volume offre una riflessione sulle forme di esperienza musicale della contemporaneità e di un passato che spazia dalla prima età moderna alla fine del Ventesimo secolo. Queste possono essere riportate a un concetto ampliato di mediazione musicale che non si applica soltanto all’esperienza “mediatizzata” della musica, proposta da dischi, film, trasmissioni radiofoniche e televisive, piattaforme di archiviazione web e social media, ma anche a un concerto dal vivo, a un’installazione, a una partitura a stampa e a un manoscritto musicale miniato. Nel complesso, i saggi rispondono all’esigenza di problematizzare le forme di esperienza musicale riconducibili ai tre concetti di testo, performance e media, di esplorarne le reciproche relazioni e tensioni ma anche la reciproca permeabilità, fino al punto di indistinzione
Il castello, lo sguardo, il presagio. Il film opera di Michael Powell "Herzog Blaubarts Burg" (1963)
No full textL'articolo indaga la lettura del mito di Barbablù che emerge dal film opera di Michael Powell "Herzog Blaubarts Burg", prodotto da Norman Foster nel 1963 per la messa in onda televisiva da parte del Süddeutscher Rundfunk. Il film è basato sulla versione tedesca dell'opera di Béla Bartók su libretto ungherese di Béla Balázs, composta nel 1911 e messa in scena per la prima volta a Budapest nel 1918. Del film l'articolo mette inizialmente in luce le peculiarità produttive, la storia del regista fino a quel momento, la drammaturgia dell'opera e il ruolo delle scene di Hein Heckroth. Successivamente l'articolo mostra come le scelte della regia da un lato enfatizzino la componente erotica (le sette porte come altrettanti momenti in cui Blaubart si congiunge a Judith nella prima notte di nozze), mentre dall'altro ne completino creativamente il messaggio rispetto alle peculiarità del linguaggio cinematografico e televisivo; tra queste lo svelamento graduale delle stanze del castello, condizionato dalla posizione di superiorità gnoseologica di Blaubart rispetto a Judith, la dimensione dello sguardo, e il presagio del sangue. Rispetto a quest'ultimo punto si osserva l'infrazione creativa delle prescrizioni del libretto, che abbandona il tema del sangue con l'apertura della sesta porta per recuperarlo solo nel testo poco prima dell'apertura della settima porta, dalla quale tuttavia le mogli escono vive, con incedere lento ma sicuro. Il film sfrutta maggiormente il tema del sangue per la sua notevole forza evocatrice sul piano delle immagini, per presentare infine le mogli come imbalsamate, e mettere in luce il sacrificio di Judith, il cui pesante vestito la presenta agli spettatori come trafitta da spade. Pertanto la lettura del film assume toni più inquietanti che non possono essere limitati alla lettura intrapsichica alla quale gli autori dell'opera hanno pure ripetutamente alluso. Questa dimensione, che va sostanzialmente perduta con la completa eliminazione del Prologo declamato da un bardo, viene tuttavia recuperata dalla destinazione mediale, ovvero dalla scatola del televisore al quale il film era principalmente destinato, che permette un aggancio alla coeva teorizzazione dei media da parte di Marshall McLuhan
La promessa di felicità: perché deve essere infranta
No full textTraduzione del saggio di Albrecht Wellmer "Das Versprechen des Glücks und warum es gebrochen werden muß" incentrato sul rapporto tra Theodor W. Adorno e la musica
Teologia, illuminismo e il futuro delle illusioni
No full textTraduzione del saggio di Theodor W. Adorno "Theologie, Aufklärung und die Zukunft der Illusionen"
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